Determining 24p vs 24p advanced footage

Is there a foolproof way to figure out if your footage was shot at 24p standard or 24p advanced?
thanks

to be clearer: I am going to edit my project in a 23.98 timeline.
Ok... then we need to make sure the footage is converted properly to 23.98 because once it's on tape REGARDLESS of what you shot -- it WILL be 29.98.
I have brought in some of the footage that I shot at standard 24p/ F5 via the DV-NTSC easy set-up, and made a 29.97 test sequence in the "project" that I put that footage in. I have not as yet converted any of that standard 24p footage as yet via Cinema Tools, but when I do it is my understanding that I'll be able to then use the footage in the 23.98 timeline
Correct.
The footage that I have written down as being shot at 24p ADV/ F6 was captured using the 3:2 pulldown removal into a separate "project." I made a test sequence with a 23.98 timeline.
I'm getting the picture...
What's happening is that I'm getting those red "needs rendering" lines when I move clips into the sequences (again, as a test) but not where I would expect them. For example, one clip of 24p advanced footage I brought in using the 3:2 pulldown, with the sequence set at 23.98, is nevertheless showing a red render bar above it. baffled.
Hope this is a mistake... there isn't a set up to remove 3.2... only 2.3.3.2. And, yes -- captured material with the advanced cadence removed via FCP on capture WILL show a TC Rate of 30 fps... so :29 to :00. And yes, there will be 'frames' missing.
Now... why are you getting render lines?? Make sure indeed that you are working with a DV NTSC 48k sequence with anamorphic selected. Apple-Zero the sequence in the browser to MAKE SURE the settings are correct.
Also -- check the item properties for the captured material.
email me offline if you get too confused. Might be easier to walk thru it on iChat.
CaptM

Similar Messages

Dvx100 24p advanced footage needs rendering?

I have footage captured from a DVX100 as 24p advanced into FCP. I used 2:3:3:2 pulldown to capture it. Now I'm editing on a 23.98 timeline but final edit needs to be rendered in that timeline despite the fact that I don't have any filters. However, in a regualr 48khz timeline, it needs no rendering. Can anyone help?

I would wager if you look at the footage, the pulldown has not been pulled out and the clip is still at 29.97. There is probably some break in the cadence and the pulldown was left in. You can try Remove Advanced Pulldown from the menu on the clip and see what happens...
Patrick

24p advanced footage needs rendering?

I shot footage in 24p advanced and imported into FCP using 2:3:3:2 pulldown. I then began editing in a 23.98 timeline and discovered that all clips I put there need rendering. I then changed the timeline to 48Khz (not 23.98 or 24p) and the clips don't need rendering anymore. I'm positive I shot in 24pa, especially because I see the stuttering when I panned during the shooting/recording stage. Even the screen on the DVX100 indicated 24pa. What am I doing wrong?

Sometimes I have a similar problem. I shoot advanced 24p on my XL-2 and capture using the pulldown removal setting on FCP -- but when I get there the footage needs render. Honestly -- I would try just re-capturing and making sure all the settings are correct. Before I do anything in my project file I always change the EASY SETUP to universal Pulldown Removal settings. That way, I'm positive it will be capturing into the correct timeline setups, etc.

Editing in 24p, not 24p advanced

I shot a feature with a Panasonic AG-DVX100A and used the standard 24p setting instead of 24p advanced, not realizing that the latter would be preferable for editing. Is there a way to avoid the flicker and jitter that seems to accompany 24p footage in Final Cut Pro? What settings should I use when capturing the footage to get the best results?

I have a follow up question to these postings. I shot in 24p (not advanced) and am capturing footage into final cut 5 under the NTSC easy set up at 29.97. I am seeing weird lines during movement in the shots.
I've tried changing the settings to 24p (no easy set up option) and cannot get the problem to go away. I don't want to capture all my footage this way and the final output to have the problem.

Shooting in 30p vs. 24P vs 24P advanced? / sequence settings

I'm using a Panasonic DVX 100 camera. (i'm new to it) Sorry if these are naïve questions, but I need help.
Not sure what the difference is if I should shoot in 30p/24p/24p advanced?
If I shot in any of the three, do I use different settings when I import?
Also, how do I set the sequence settings for the best results?
I appreciate your guidance...

Whether you shoot in 30p or 24p depends on what your style of filming. Hands down 24p is going to look the most like modern day cinema, but you need to make sure there is plenty of light, and also watch a bunch of movement. Basically you are looking at the difference between packing 24 frames in a second, or 30 frames in a second. Most of the time, so long as you aren't doing massive pans you will be fine with 24p. For me, I do a bunch of shoulder mounted filming, so I use 30p to make sure I don't get any "slideshow" effects if I decide to slow it down or maybe pan across the horizon. If you film in 24p, you want to capture in 24p. You can do an easy setup for HDV 1080p 24 or 720p 24 depending on what reso you are filming at.
Usually the question comes between 24p and 60i. If you are ever going to have a bunch of movement, or intend on doing slow motion at all, 60i is a much better result. You can always color the film later to get a cinematic effect. Hope this is helpful. (and true..)

What is the best way to work with AVCHD 720 24p footage in FCE4.1?

Hi I have a Panasonic HMC-150 and I've been shooting 720 24p footage at 21 mbps transfer rate.
I was wondering what is the best way to work with this material in FCE 4.1? I see that in the easy set up menu they only have the option of 1440X1080i at 50 or 60 fps or 1920X1080i at 50 or 60 fps.
Also in the rates drop down menu there is only 50 or 29.97.
So I was wondering which is the best choice for 720 24p footage and will it look alright in any of them? Also is it possible to customize these settings?
And finally can you work with faster transfer rates (21mbps) in FCE?

Yikes, this is going to be tricky since FCE does not support native 24p editing.
The work around for some of us is that AVCHD material that is 24p is often recorded to disc at 60i using telecine, in which case it can be editing at 29.97 frames per second, and then detelecined afterward for final export at 23.98 fps. The problem is that I think your camera actually records real 24p - not 24p packed into 60i. When you import the material from the camera what does QuickTime report the framerate as?

Panasonic 24p footage - workflow in CS4

Hi there,
Although it’s my first post on this forum I’ve been reading and browsing for answers to my questions before – it’s not the case for me to give advises, not yet at least!!!
But this thread just confuses me a lot and I don’t think I fully understood the previous related discussions I’ve read. So here is my question:
What’s the workflow in Premiere CS4 with DVX100 footage, 24pA (although I also have some 24p Standard – meaning 2:3:2:3 pulldown cadence) to obtain a 24p video with Nooooo interlaced artifacts?
For the 24pA, from what I reasoned myself and read on this forum, I chose the 24p Standard present under DV-24p. Captured the footage and applied the Interpret footage -> Remove 24p DV pulldown. Set the in and out points; dragged it on the timeline of a sequence (24p preset). None of the Source or the Monitor windows show any interlaced artifacts and the timeline shows NO red line above. So it should be a 23.97fps footage, right?
BUT, as soon as exported (in the Microsoft AVI format with, for e.g., the NTSC DV 24p preset) I DO see the video as interlaced in BSplayer, while with Windows Media Player it shows no interlaced artifacts. I thought that my BSplayer is configurated wrong, but, any further compression I apply to this like exported video (a DivX codec, for e.g.), gives me a new video file with interlaced look in BOTH players. I’m loosing my mind – where do I do wrong? Project settings? Export settings?
(the footage was shot on tripod, but with a lot of motion in it - sport! And is designed to be exported for DVD and to be viewed on computer.)
2. How could I mix 24pA footage with 24p Standard footage of the same DVX100? As, for mistake, the 1st day I shot 24p Standard instead of 24pA?
From what I understood the 24p Standard need a 29,97 fps sequence – is it right?
Thank you,
Karmen

It works--I've done it dozens of times with hours of 24p (not 24pA) footage. The 24pA cadence wasn't necessarily designed to make 24p editing possible; it was designed to make 24p editing less taxing for a computer and somewhat higher quality, because a whole "frame" (and I say "frame" in quotes because there are no such things as "frames" in interlaced video) could simply be discarded.
I understand the logic of your thinking, but again, keep in mind that are no such things as frames in interlaced video. Each field is written independently, but we like to think of a video frame as being comprised of a top and bottom (or upper and lower, or odd and even) field because it's easier to comprehend that way. For the most part, this thinking works; that's the whole source of the "is it 30i or 60i?" nomenclature question.
Now, while I'm not too sure about the science or math of it--I try to stay out of the part--I believe the way that DV compression works is to package those two fields together as a "frame", simply for compression purposes. The fields are still independent, and can be recovered as independent entities, but it involves decompression to reverse the DV compression. Once you do that, you have two separate fields, and in the case of 24p, those independent fields can now be reassembled in the proper order to recreate 24 independent progressive frames. It is the 2:3 pulldown cadence that tells the software which fields it needs to use to recreate the independent frames. Of course, it's still DV, so in order for it to be played back properly, there must be a recompression step.
And this is why 24pA was invented. It's still recorded with fields, because it's interlaced DV at its heart, but the 2:3:3:2 cadence allows for the third "frame" of five to simply be ignored: everything the editing software needs to create a 24p stream is already encoded in the DV stream, without any decompression or reassembly needed. Recording using 24pA maintains a somewhat higher quality on those frames that would otherwise have to be reconstructed if the video was recorded with 24p, and there is theoretically less of an impact on computer performance because the decompression/recompression cycle is being avoid (though I doubt that has much bearing on any computer manufactured within the last few years).
I know it seems like voodoo, but that's really how it works (distilled a bit, I suppose!). Check out this article at Adam Wilt's website for more information, as well as some graphics that illustrate what's going on in 24p and 24pA recording.

DVX100'a, 24p Advanced, Multiple Editors, Etc.

I've tried delaying posting here as long as possible to do research, but if there's ever a time I need to be sure I've got things set up correctly, this is it (I can also post somewhat safely *crossed fingers* during this New Years cease fire):
I've been asked to assist in editing a feature-length (hopefully) documentary (more info here: http://www.dariusgoeswest.com/). The footage has already been shot on two DVX100a's. It was shot in 24 frame advanced mode. The director plans to print this to film at the end of this entire process, and wants to be sure the settings in FCP will allow this at the end of the project. Here's where I come in. If I use the settings suggested in this article for 24 frame advanced footage:
http://www.kenstone.net/fcphomepage/24p_in_FCPnattress.html
is there anything else I need to alter about the timeline or the project to ensure it can eventually make it to film?
The project will likely be edited on FCP 5 on both my PowerMac G5 and an iMac G5. This is where my second question comes in:
The director has an iMac G5 at his home, and I have this PowerMac at my house. We'd like, if possible, to be able to "trade" the project back and forth between our two computers during the editing process and edit on our own machines. We have one 500 gig external hard drive and the budget for a few more if needed. What would be the best way to transfer/transport the project between our two computers safely (i.e. with a backup)?
If this is a RTFM type question, please feel free to tell me so I'm slightly overwhelmed because I've never done anything like this, so any suggestions/advice/warnings are appreciated.
If I've left any essential information out, I will try to find out as soon as possible.
Most gratefully,
JC

What would be the best way to transfer/transport the project between our two computers safely (i.e. with a backup)?
Uncle Gru... err, I mean, Jim, has got you on the right path. I'll second the notion of duplicating your media so that it exists on both your external hard drives.
The only suggestion I really have to add is that you digitize/import all media - especially non-timecode material - so that you can prevent file names from getting out of hand and/or captures from being off sync. You can then provide your director with said content on DVD-Rs or copy them over from your firewire drive.
The other thing to read up on is EDLs and, if you want to use Cinema Tools, Change Lists. Perhaps more suited to a straightforward 2 person workflow, though, is the use of XML Import/Export. In particular, once your media is set on both systems, you can simply email XMLs of your sequence(s) to each other [though it's probably a good idea to zip your file before attaching to email]
Good luck.

Cinema Tools doesn't recognize pulldown cadence on 24p DVCPRO 50

Hi everyone, I'm hoping someone can give me a couple suggestions on this...
I've been capturing 24p material for a documentary from different sources and with different pulldown cadences: DV @ 24p and 24p Advanced, and DVCPRO 50 @ 24p.
The extra frames from the two DV types get removed properly, but not from the DVCPRO 50. I take a clip into Cinema Tools and hit 'Rev Telecine..' (Automated so no options to choose from) and it gives me a 23.98 clip with the what should be the C frame interlaced. (A B C/D D)
It looks like CT is removing 2:3:3:2 'advanced' pulldown and not the normal 2:3:2:3, like it's reading the metadata in the clip wrong. Does anyone know a way to manually set the type of pulldown--either in Cinema Tools or within the metadata of the clip itself?
Thanks in advance,
Will
Dual 2.7 GHz G5, 4.5 GB RAM Mac OS X (10.4.2) FCP 5.03, Cinema Tools 3.03

I didn't know therre was an Automated way either until working on this project, and maybe it's a new setting in Cinema Tools 3. The manual says that CT will recognize the pulldown on the clip automatically when it was shot in a 24p video camera, that this information gets embedded in the clip. The dialog box it gives you for the automatic reverse telecine has no options at all, and all my clips started on an A frame for the possibility of doing all as a batch.
I may have found what happened, (although not how to fix it). My capture setting had Remove Advanced Pulldown checked, and the tapes were recorded with regular pulldown. In my experience with DV footage this has never mattered, it would remove it if it could and if not leave the clip alone.
It looks like there's a bug somewhere in the DVCPRO 50 capture process--that the clip is has the 24p Advanced markers embedded even though it is regular 24p, and so Cinema Tools treats it improperly and removes the wrong frames:
24p Advanced (2:3:3:2) A B B/C C D 29.97 Footage
24p (2:3:2:3) A B C/B C/D D
I I 0 I I (CT removing 2:3:3:2 Pulldown)
24p Advanced A B C D
24p *my result* A B C/D D 23.98 Footage
Has anyone else encountered this bug? Any work arounds known?
Thanks,
Will

24p capture problem

I captured some footage from an XL 2 at 24p using the advanced pulldown. The audio slips out of sync over time when in FCP. It even goes out of sync during playback in the viewer window. However, the footage plays back properly when I open the original Quicktime file off of my Video HD. The problem started when I updated to FCP 5.1.3 but I updated to 5.1.4 and the problem persists.
Has anyone else run into this problem?

I didn't think the XL 2 could do advance pulldown? You may want to check that it is doing what you think it is.
Sounds like your sequence may be set at 29.97 while your clip is running at 23.97.
This article may help your understanding.
http://www.mandarinpictures.com/stephenzinn/

24p Back to Tape; LP or DVD?

Hi,
I am trying to output my DVX-100 24p advanced footage back to miniDV tape. Since the footage was imported into my sequence removing advanced pulldown, is there a way for Final Cut Pro to reinsert the flagged frames onto miniDV tape properly?
Also, if given a choice to project my film onto a theater screen using LP mode on a miniDV tape or DVD, which format would you choose for higher quality?
Any info much appreciated!
Alexander

I'm in the PAL world so don't have much experience with pulldown, but I believe you can add pulldown in a number of ways, either by dropping your 24p into a 29.97 sequence, or as an option when printing to video.
MiniDV at LP or DVD? Interesting question. I know LP doesn't look as SP but probably still a lot better - and less hassle - than DVD.
That said, you're probably going to output your movie to DVD anyway so...

PLEASE help with 24p editing mixed with 29.97

Hello--I am a newbie to all of this 24p editing. I shot a zombie movie last summer and have a MESS with the footage. Half was shot in 24p advanced mode on the Panasonic AGDVX100a with a 16:9 anamorphic lens, and half shot at 4:3, 29.97 with a Sony DVX2100.
I realize I need to "conform all of this footage".
Can I stay on a 29.97 timeline? I heard that dropping 24p adv footage onto a 29.97 timeline results in a "jittery" picture once output to TV.
Should I edit on a 24p timeline, and convert the 29.97 footage?
It seems that when I drop my 24p advanced footage into Premiere (CS4), on a 24p timeline--the fouth frame is identical to the fifth. Does this mean that pulldown removal is not happening correctly? How do I fix this?
Even if I do figure out how to edit on a 24p timeline, when I do my final render, what should my output file be? should I try a 24p DVD?
Also...This is an EFFECTS HEAVY film. So I need to do an edit in Premier, then render it and bring it into After Effects, do the effects, and do another render...then I will take that render back into Premier. Will this work? What render setting should I use? How will the pulldown be affected, if at all?
ANY HELP IS GREATLY APPRECIATED!!! I have scoured the net, but have not come across the right answers yet...please help!!!!

Hello orion,
Your HDR-CX550V records HD as MPEG4 AVC/H.264; and SD as MPEG2-PS. It appears to be an AVCHD camcorder (at least for HD video).
Storing your +original footage+ could be done at least two ways:
1 - record to removable flash media and save the Memory Sticks as your originals, as you formerly saved your tapes. (If I did my math correctly, you could fit up to about 6.5 hrs. HD video on a 16GB memory stick depending on the recording mode you select.)
2 - copy the +entire directory structure+ from the flash media to a hard drive; this is important, you need the entire directory & files from the root folder on down, not just the AVCHD folder or just the .mts files. Test this before committing to it as your archiving method.
The third way (and what I would probably do myself):
3 - Log & Transfer into FCE and then archive the resulting QuickTime .mov files to a hard drive. (Admittedly, this is technically not the 'original' footage because it has been transcoded to Apple Intermediate Codec; however the quality is excellent and should be almost indistinguishable from the original AVCHD video.)
If you convert the video files yourself (you mentioned iSkysoft), you need to convert to QuickTime/Apple Intermediate Codec to use the video in FCE.
FCP can handle 5.1 audio however the state of the art of these camcorders does not lend itself to direct import or conversion from the camcorder. Even the pros need dedicated 5.1 audio hardware. Frankly, 5.1 audio on these consumer camcorders is more a marketing gimmick than something actually useful at present.
The filenames 00001.MTS, 00002.MTS etc. are assigned by your camcorder and there is nothing you can do to change that. (Although you could rename the QT .mov files after you Log & Transfer from your camcorder).
- hoping this helps ...

Question for Working in 24P

Hi,
I have a question as I am editing a short film that I shot in 24P. My cinematographer accidentally shot half the film 24P Advanced and half in 24P Standard.
I brought the advanced footage in no problem, but had to use cinematools to convert the standard footage to 23.98.
Now that I am ready to begin editing, what is the best way sequence preset to use in order to bring these two pieces of footage together? Should I edit in 23.98 or 24P?
Any assistance would be much appreciated,
Thanks!
Powermac Dual Core 2.3 Mac OS X (10.4.2) 2GB RAM

i'm always thoroughly amazed at how frequently the "cinematographer" accidently doesn't know what frame rate he's shooting in.
elli, you're already ahead of the curve if you figured out cinema tools. good on ya!
the only sequence timebase to edit in is 23.98 fps. 24p is manufacturer shorthand that does nothing but confuse folks into thinking they're getting something film like from their video camera.
here's good info about 24p (ntsc 23.98 fps) and you should study it if you've not already.
http://www.adamwilt.com/24p/index.html
http://www.kenstone.net/fcphomepage/24p_in_FCPnattress.html
good luck and post back with success. remember, if you drop a clip into your sequence and you immediately need to render, clip and sequence settings are mismatched.
zeb

Capturing 24p from the HVX-200

I just filmed some footage, with the Panasonic HVX-200. I filmed in 480/24p on a tape. when capturing it in FCP do I choose DV50-NTSC 24p, or DV-NTSC 24p in the easy set up menu? I think its DV50, Im just not 100% sure. IF anyone can help me out I would really appreciate it.
Stephen.....

Yup...pretty sure...
#23 Differences between 24p and 24pA
Shane's Stock Answer #23
Quoting Ken Stone's site found at:
http://www.kenstone.net/fcphomepage/24p_in_FCPnattress.html
24p Normal
When shooting in 24p Normal, the camera is adding normal standard 3:2 pulldown to the video, which results in 24p footage designed to work with any non-linear editing suite and it will play back and look good directly to any NTSC monitor. You can use 24p Normal footage just like normal video from any DV camera, and everything will work fine, but obviously, the footage will have a film look to it. If you’re just going straight back to NTSC video tape, then using 24p Normal is the simplest, easiest workflow. No special treatment of the footage is needed and you really can just edit as normal.
24p Advanced
Before you shoot 24p Advanced, you should fully understand it’s workflow implications. If you watch 24p Advanced footage before you’ve removed it’s pulldown, then it will look a bit jumpy and jerky. This is totally correct, because 24p Advanced is not designed to be viewed as is.
To use 24p Advanced and gain all it’s advantages, you should know that you cannot edit it as is (as this would leave it’s jerky looking pulldown intact), but you must first remove it’s pulldown. Final Cut Pro will do this for you, leaving you with the 24p footage without any of the extra “padding” fields that are added to make it’s frame rate 29.97fps. Now that your footage is 23.98fps, it must be edited on a 23.98fps timeline, and this can cause problems if you, for instance, want to include other footage, B-Roll, or stock footage, that comes from a different source. However, once you have your finished edit at 23.98fps, you can make a 24p DVD, which will allow you to compress your MPEG2 less than if you were making a normal 29.97fps NTSC DVD, and hence attain higher picture quality. Similarly, if you’re making a web movie, you will find it easier to get a higher quality result from 23.98fps media than normal NTSC media. 23.98fps movies are also easier to take out to film that 29.97fps movies.
If you are editing in a 23.98fps timeline, Final Cut Pro will add pulldown on the fly, over Firewire, so that you can see your movie on a normal NTSC monitor. Similarly, it will add pulldown when going back to DV tape. However, this will not work on a non-DV format output, say to Digital Betacam, and slower Macintoshes do not have the power to add 3:2 pulldown in realtime, falling back to lower quality pulldowns which although are not too bad while editing, will not make the final project look as acceptably good on television as a final product.
What that tells me is that 24P just adds a "look" of 24 fps to the footage that resembles that of telecined film, but that you work with normally at 29.97fps. Or, if you want to, you can add a reverse telecine and work at 23.98. Either way.
BUT, with 24PA, the footage looks jittery when played on the tape. So sure, you can work with it and output it to tape, but that tape is useless to anyone OTHER than someone who can capture it and perform a reverse telecine to work with it. It will not work as a Master tape for any viewable purpose: Broadcast TV, projected video from tape, a master tape for dubbing purposes. So, in effect, it is useless as a tape master, and should be avoided.
If you want to have a tape master, shoot and edit 24P at the 29.97 framerate.
Shane

FCP5 and 24p

Hello,
I just got on board this project. I'm basically trying to make the process of editing it smoother than what it has been up tuntil now.
They shot in 24p. I don't know if it was advanced or standard. They are about to start editing with Final Cut Pro 5.
The output will be a 24p DV and maybe even film (as somebody is offering it for free -- of course no tests were run beforehand, they just forged ahead)
Here are my questions:
(A) - How do I find out what 24p they shot in? I read somewhere on this forum that one would need to take a look at the frame rate. But what's the difference between the frame rate of 24p advanced and 24p standard?
(B) - Which setting should the editor use to capture the 24p Standard footage, considering that we are going for a 24p DVD output?
(C) - Would the editor be right to use the "DV-NTSC 24p (23.98) Advanced Pulldown Removal" setting to capture the 24p Advanced footage?
(D) - What do people mean by "24p DVD" output? Is it simply to burn a 24 final cut on a DVD? Or does it require more work than that? (We have the DVD authoring software that comes with the Final Cut Studio package)
Thank you much for the help.
Alex

What a goldmine this thread was to me this week! I had almost an identical situation arise. 24p 16:9 that the client wanted burned to DVD.
The media was on MiniDV 1hr26min. of footage. He also wanted to keep it at 23.98 for the DVD vs. 29.97
After careful reading of this thread and a couple of others to get some real-world working knowledge of 24p and the workflow, off to burn I went!
A couple of important things came to mind. Fisrt it was really a lifesaver to visit http://www.jkor.com/peter/24editing.html before starting.
By reading that site I found out that my MiniDV deck JVC BR-600UA would not allow you to use the Easy Setup for Advanced Pulldown. That was a touchy subject for me, because I had already commited to the job. A quick call to the client to ask about camera settings during the shoot eased my mind. He had not used Advanced Pulldown.
Now it was just a matter of capturing and running Cinema Tools to remove the pulldown. Well almost...
Since the project was ws on 2 tapes and had minimal editing, I simply made 2 captures. The issue was that Cap1, was 60min long and the file was to large for Cinema Tools to handle.
The shorter Cap2 was no problem. After breaking the first Cap into two smaller clips, it went like butter. Lesson learned:)
Next came Compressor for the MPEG files and finally DVDSP, in which I got another surprise. This project was going to require a Dual Layer disc.
Somehow I missed the part in the manual where it talks about establishing a break-point marker in your timeline. Lesson learned
Bottom line... Project is complete 2 days ahead of schedule and works perfectly.
Thank you to all who contribute here. The 1 hour of research saved me at least 3 days of headaches, and certainly would have created quite a different post here in this forum from me on this subject.
LOL!
G5 Dual 2.7 Mac OS X (10.4)
G5 Dual 2.7 Mac OS X (10.4.2)
G5 Dual 2.7 Mac OS X (10.4.2)

Determining 24p vs 24p advanced footage

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